ice flight icy

Tomas Sanchez, Cuba

Meditación", 1987,

Juvenile collared peccary (Dicotyles tajacu/Pecari tajacu) bottle feeding

If you get into white work embroidery, you might discover cutwork. And when you start doing cutwork, you might get curious about incorporating detached elements. And before you know it the fabric is gone, you are making needle lace, and there goes the rest of your week.

Buttonhole stitch - not even once.

1. A lot of the disgust for drag and ball is racist and you can see it in how Black transfems are treated for saying "doll" and liking to be called "doll"

2. Anglo cultures specifically have done massive damage towards the public understanding of effeminacy and the ability to organize in communities due to the reactionary backlash against effeminacy in gay male spaces (which was bound up in a hatred for trans people) from the late 60s onward. These ways of organizing (see: Molly houses) were already weakened by centuries of criminalization. Cultures that aren't predominantly English speaking still have well recognized institutions where there is an overlap between transfems and queer men.

3. The main place in English speaking culture where you do see that communal overlap still are Black majority spaces

4. People who write about this experience are pretty often non-white (if you look at the contributors for Why are Faggots so Afraid of Faggots, a book that basically complies essays from fags, a hell of a lot of whom are genderqueer and the main organizer of whom is a self described she/her "genderqueer, faggot, and a queen, on the trans continuum") a lot of them are Arab, Indian, Indigenous, Black, etc

5. Effeminacy is seen as artificial and inferior. People ask why you dont see she/her gay men (again, actually still very common if you don't speak English) and when told "wym, gay men clearly use she/her all the time" claim it doesn't count because they perceive that use of "she" as an illegitimate joke rather than a statement about one's gender. This sentiment continues throughout most discourse about Effeminacy.

But, you know, if every pork chop were perfect we wouldn’t have hot dogs.

GRUNGE/ INK TEXTURE PACK

WATERCOLOR TEXTURE PACK

MARBLING TEXTURE PACK

Of course, there’s this panel from Chapter 1, where Qifrey is not only yanking Coco out of range of the forbidden spell that crystallized her mom, but pulling her from outside the frame (symbolizing her status as an “outsider” to witch society) into the panel with him (depicting her abrupt transition into their world).

Another example that caught my eye was this scene from the Qiflings’ trip to Kalhn, where the panel’s border forms the flight of stairs that Coco dashes up to get to Nolnoa’s shop, thus directing the reader’s eye to the next page, where Qifrey, Richeh, and Tetia are waiting for her.

Or these speech bubbles, which are shaped like ragged scrolls to indicate that Coco is reading out loud from a book.

Other instances, like Qifrey leaning on the panel frame, may not serve a direct narrative purpose, but this playfulness creates the impression that the artwork might spring to life at any moment, as though you really are flipping through the enchanted pages of a spellbook.